Sergei Lyapunov - 7 Preludes Op. 6 (audio + sheet music)

The book of Seven Préludes Op. 6 from 1895 is one of Lyapunov’s finest compositions from this period. The source of inspiration for each prelude is extremely varied, mixing joyfulness and pain and ranging in temperament from the subdued to the exuberant. Intended to be played in succession and with their tonal relationships linked by a pattern of descending thirds, Lyapunov’s Seven Preludes are, for the most part, exercises in brevity, economy, and rigour. The faster ones remain in the realm of the Étude and, as in the case of Chopin and Bach, derive much of their development from a single motif. But Lyapunov also touches on other genres such as the Nocturne and even the Impromptu; the neutral form of the Prélude becomes so flexible in his hands that it seems capable of assuming almost any character.

The first prelude, although not the most difficult of the set, is very effective with the bravura of its hurled arpeggios, supported by a melody line in the bass and by rising quaver arpeggio figures in the left hand.

No. 2 is a true finger study with undulating broken-chord passages in both hands. In addition to the stretching of the hand, the difficulty lies, as so often with Lyapunov, in the detachment of the melody from the central or upper part of the triplet figures.

Temporarily interrupting the display of virtuosity, the third prelude is a mournful nocturne with a fatalistic atmosphere reminiscent of Scriabin. Above a vast sequence of arpeggios, several melodic lines intermingle, anticipate and respond to each other.

The fourth leaves the anguished mood behind and offers nothing but joy and cheerfulness, with a theme derived from a succession of repeated notes taken from the underlying chord structure. Lasting barely a minute, it is a marvel of concision.

In the fifth prelude, Lyapunov fuses Chopin’s Nouvelles Études with those by Liadov. Apart from conveying the intricacies of the hemiola rhythms, the pianist’s task is once again to reveal the true thematic material among the iridescent harmonies, taken from a steady flow of quavers that appear to be of equal weight.

By far the easiest to play and perhaps also the easiest to like, Prélude No. 6 opens with a melancholy syncopated theme modified by accents over an accompaniment of arpeggios in the low register.

With its incessant swirls of semiquavers spread across two distinct themes, the seventh prelude makes for a brilliant finale. The final galop, with chromatic octaves alternating in both hands, offers a breathtaking final flourish.

(Naxos Music Library)

Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.

Original audio: https://www.youtube.com/watch?v=KydvrnL4NvY
(Performance by: Marco Rapetti)
Original sheet music: imslp.org

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